A Different Nature
A Different Nature Mission Statement: A Sustained Explorations of New, Experimental Music and Sonic Art
A Different Nature is a curatorial program of genre-defying avant garde music and spoken word that champions historic and modern sound art and spotlights, new, emergent experimental music and audio art generally not heard anywhere else.
The program's format provides the space for deep listening to pieces not confined to pop song lengths and shows are generally focused on an artist, school of music or discipline, record label or art movement.
A Different Nature is a collaborative effort of the ADN Collective, who each curate a show every week on an informal rotating basis, or a group show, depending on the subject at hand.
A Different Nature was founded in the late Seventies by Richard Francis, who fearlessly championed new music and the unheard Avant Garde. His programs went into exhaustive detail on individual artists, labels and musical disciplines. He also spearheaded many important events on the air, such as the 2001 and 2008 Dada and Surrealism festivals that dominated the airwaves for days on end and involved many in the local avant garde community as well as many KBOO programmers.
Richard passed away in 2009 but it's our hope to carry on with his mission of introducing listeners to unheard new music as a collective of his collaborators and listeners.
Long live Papa Dada!
Airs every Monday from 8 to 10 PM
Mark called in all the way from North Carolina to discuss Negativland history, their upcoming show in Portland on the 29th, their upcoming new album It's All In Your Head and other mysteries.
This time on A Different Nature, we delve into the program's past, and play gems from founder Richard Francis' own record collection. It's KBOO's spring membership drive, so A Different Nature listeners will have the opportunity to pledge their support for the station during the program. We have special thank-you gifts to offer new or renewing members: copies of the CD "Hendrix Uncovered: New Music Inspired by Jimi Hendrix", donated by March Music Moderne & Bob Priest.
- Length: 119:47 minutes (164.51 MB)
- Format: MP3 Stereo 44kHz 192Kbps (CBR)
For forty years, the San Francisco Avant-Garde band The Residents have basked in relative obscurity, much of it self-imposed. Their earliest modus operandi had them creating works under their 'theory of obscurity', first coined by N. Senada, who may or may not be an actual person. One aspect of the theory is that a work is created with the intent of never releasing a work until every participant has forgotten about it - or something like that.
Another aspect of the Residents is that they've kept their real identity a secret for many decades, with a few people speaking on their behalf in a business capacity who may or may not be Residents themselves.. Hmmm..
We did, however, manage to get Homer Flynn, The Resident's creative director and visual Major Domo on the phone, while he was, uh, helping the band on the Eastern leg of their Wonder of Weird 40th Anniversary tour.
Homer was more than generous with his time and lots of questions get answered, including a long-time rumour around KBOO's history.
But I'll let you listen to that yourself.
- Title: Interview with Homer Flynn of The Residents
- Length: 37:10 minutes (187.57 MB)
- Format: RIFF Mono 44kHz 705Kbps (CBR)
Kathy, Dr Zomb & Rolf interviewed Edward Ka-Spel of the Legendary Pink Dots for A DIFFERENT NATURE. We conducted the interview at the Doug Fir a couple hours before they performed and aired it on ADN that night. Also thanks to Crystal for digital audio editing before the interview aired.
- Title: Edward Ka-spel interview
- Length: 23:31 minutes (21.53 MB)
- Format: MP3 Stereo 44kHz 128Kbps (CBR)
|Alan Hovhaness||Kohar, for flute, oboe, tympani, strings||Symphony of Metal Instruments||Koch 3-7289-2H1|
|Alan Hovhaness||Concerto #7||Music from Louisville||Louisville First Edition FECD-0006|
|Alan Hovhaness||"Island of Mysterious Bells," for four harps||Isolated Instruments||MHS-1844 (vinyl)|
|Alan Hovhaness||Khaldis, movement 1 for piano||Khaldis||Crystal CD-814|
|Alan Hovhaness||Fantasy on Japanese Woodprints||Music of Hovhaness||Columbia M-34537 (vinyl)|
|Alan Hovhaness||Rubaiyat of Omar Khayyam||Music of Hovhaness||Columbia M-34527 (vinyl)|
|Alan Hovhaness||Symphony (#17)||Symphony of Metal Instruments||Koch 3-7289-2H1|
|Alan Hovhaness||"And God Created Great Whales"||"And God Created Great Whales"||Delos DE-3157|
|Alan Hovhaness||3 Bagatelles for String Quartet||Spirit Murmur||Delos DE-3162|
|Alan Hovhaness||Khaldis, movement 3 for piano||Khaldis||Crystal CD-814|
|Alan Hovhaness||"Enchanted Ground," for Harp||Concerto for Harp||Telarc CD-80530|
|Alan Hovhaness||Symphony #39, for Guitar & Orchestra||Symphony #46, #39||Koch 3-7208-2H1|
Music of Alan Hovhaness. Celebrating the centennial of Armenian-American composer Alan Hovhaness. More information, biograpy, complete listing of all compositions, and discography, plus updates on 2011 centennial celebrations around the country at: www.hovhaness.com
Fourth of six programs devoted to the music of Butch Morris.
CONDUCTION® No. 58, HOLY SEA, MARBLE DUST / CONDUCTION® No. 59, HOLY SEA, THE DEVIL'S MUSIC recorded near Florence, Italy. February, 1996 [total time 73:10]
Lawrence D. "Butch" Morris conducting the Orchestra della Toscana: Andrea Tacchi, Giorgio Ballini, Paolo Gaiani, Maria Elena Runza (violins), Riccardo Masi, Alessandro Franconi, Dimitri Mattu (violas), Giovanni Bacchelli, Filippo Burchietti (cello), Raffaello Majoni, Gianpietro Zampella (basses), Michele Marasco (flute), Umberto Codeca (bassoon), Gianfranco Dini (horn), Donato De Sena, Claudio Quintavalla (trumpets), Renzo Brocculi (trombone), Riccardo Tarlini (tuba), Morgan M. Torelli (timpani), Jonathan Faralli (percussion), Cinzia Conte (harp). With J.A. Deane (trombone/electronics), Otomo Yoshihide (turntables/sampling/electronics), RiccardoFassi (piano).
CONDUCTION® No. 23, QUINZAINE DE MONTREAL
The Spectrum, Montreal, Quebec, Canada, 11 April 1992 (time 43:25)
Ensemble: Tristan Honsinger, Martin Schutz, Eric Longsworth (cello), Michelle Kinney, Ken Butler (hybrid broom-cello), Helmut Lipsky (violin), J.A. Deane (trombone/electronics/sampling), Guillaume
Dostaler (piano), Mike Milligan (bass), Pierre Dubé (vibraphone). Lawrence D. "Butch" Morris conducting.
Tune in to A Different Nature next week, for a special program commemorating the 100th
anniversary of the birth of the prolific American composer Alan Hovhaness,
whose music explored his Armenian heritage, as well as Japanese and Korean
musical forms, modal composition, love of nature, etc.
|Catherine Jauniaux||Une Escadrille de Sorcières||Fluvial||Ad Hoc|
|The Hat Shoes||Battre Des Paupieres||Differently Desperate||Ad Hoc|
|The Hat Shoes||Skinny Moon||Differently Desperate||Ad Hoc|
|Ikue Mori||Angler Fish||Hex Kitchen||Tzadik|
|Catherine Jauniaux||Copul's Humus||Fluvial||Ad Hoc|
|Catherine Jauniaux||Doresc Treï Baby||Fluvial||Ad Hoc|
|The Hat Shoes||Love Conversation||Differently Desperate||Ad Hoc|
|Vibraslaps||Ce grand neant||Vibraslaps||RecRec|
|Tom Cora||Ce grand neant||It's a Brand New Day: Tom Cora Live at the Knitting Factory||Knitting Factory Works|
|Aksak Maboul||A Modern Lesson||Un Peu de l'Ame des Bandits||Crammed Discs|
|Vibraslaps||I Fall in Love Too Easily||Vibraslaps||RecRec|
|The Hat Shoes||The Woman Of Chernovitzy||Differently Desperate||Ad Hoc|
|Vibroslaps||Important Things are Whispered||Vibraslaps||RecRec|
|The Hat Shoes||Differently Desperate||Differently Desperate||Ad Hoc|
|Ikue Mori||Kiss of Fire||Hex Kitchen||Tzadik|
|Butch Morris||Conduction 36||Conduction 31, Conduction 35 & Conduction 36||New World|
|Aksak Maboul||Milano Per Caso||Un Peu de l'Ame des Bandits||Crammed Discs|
|Catherine Jauniaux||Origine des Femmes||Fluvial||Ad Hoc|
|Ikue Mori||Woke Up Aghast||Hex Kitchen||Tzadik|
|Catherine Jauniaux||Kebadaya||Fluvial||Ad Hoc|
|Ikue Mori||Shiver||Hex Kitchen||Tzadik|
|The Hat Shoes||Dolores||Differently Desperate||Ad Hoc|
|The Hat Shoes||Tchakoh||Differently Desperate||Ad Hoc|
|The Hat Shoes||Birdless||Differently Desperate||Ad Hoc|
CATHERINE JAUNIAUX is a unique French born vocalist and composer who's contributed to numerous R.I.O. (Rock In Opposition) projects and has stood at the forefront of vocal improvisation of the downtown NYC scene for many years. Her vocals exhibit a vast platter of sounds, encompassing invented languages to schizophrenic meanderings and everything in-between. Some of the projects she has participated in include: The Hat Shoes, Aksak Maboul, Des Airs, The Work, Third Person, Vibraslaps, Butch Morris, Tom Cora and collaborative work with the likes of Otomo Yoshihide, Erik M, Ikue Mori, and Fred Frith. She also was the wife of late cello player Tom Cora.
FRED FRITH - 2 WORKS (mainly) -- hosted by daniel flessas
Focusing on Frith's early guitar masterpiece, 1974's "Guitar Solos" and 1995's "Pacifica", (though we opened tonight's show with the atmospheric "Kick The Can" from the 1980 album, "Speechless").
GUITAR SOLOS (from about 8:05 pm til around 9:15 pm)
1. Hello Music
2. Glass c/w Steel
4. Out of Their Heads (on locoweed)
5. Not Forgotten
6. Hollow Music
7. Heat c/w Moment
8. PART 5 from "Rivers and Tides" (music for the amazing film about Andy Goldsworthy) this is NOT on Guitar Solos, btw..
9. No Birds (The longest track on the album, "No Birds", Frith played on two prepared guitars simultaneously, creating the timbre and range of an orchestra. He laid the two guitars flat on a table, neck to neck with the bodies of the guitars at opposite ends and the necks parallel to each other. He then tuned the strings on both guitars to one note, and because they were stereo guitars with nut pickups, he had six separate sound sources coming from each guitar. Using volume pedals on some of the sound sources, Frith filtered sounds in and out of the mix without doing anything on the guitars.
10. Only Reflect
11. Water / Struggle / The North
12. Alienated Industrial Seagulls
Guitar Solos was voted one of the best albums of 1974 by NME critics. Allmusic called it a landmark album because of its innovative and experimental approach to guitar playing. It also attracted the attention of Brian Eno, resulting in Frith's playing guitar on two of Eno's albums, and spawned two follow-up albums, Guitar Solos 2 (1976) and Guitar Solos 3 (1979). Guitar Solos was remastered and released on CD on Frith's own record label, Fred Records in 2002.
Frith recorded the album at David Vorhaus's Kaleidophon Studios in London on 11–13 and 15 July 1974, where he played a modified 1936 Gibson K-11. He added an extra pickup over the strings at the nut, enabling him to amplify sound from both sides of the fretted note. He then split the fretboard in two with a capo, effectively giving him two guitars, each amplified separately that he could play independently with each hand. To split the sounds further he attached alligator clips at various positions on the strings. The net result was a guitar with multiple sound sources that could be channelled to a mixer and distributed across the stereo soundscape.
The album was recorded in four days without any overdubbing. All the pieces were improvised, some completely, some to a roughly preconceived idea, and sound as they were played, except for "No Birds", which was recorded in two parts, and "Not Forgotten", from which two notes were removed. The only sounds not produced 'naturally' by guitar are those of a fuzzbox used on "Out of Their Heads (On Locoweed)", "Heat c/w Moment" and "No Birds", an echo delay used on "No Birds", and ambient noise from Frith's breath and feet on "Heat c/w Moment".
PACIFICA (from about 9:15 pm til almost 10:00 pm)
Pacifica was composed by Frith in 1994 as "a meditation for 21 musicians with texts by Pablo Neruda", and was performed, under the direction of Frith, by the Eva Kant ensemble in 1995 in Modena, Italy. Texts taken from the Chilean poet Pablo Neruda's works Soneto IX and Cien sonetos de amor, were recorded by Sergio Meza in September 1997 in Santiago, Chile and were added to the music in 1998. The album was released on Tzadik Records' Composer Series in 1998.
Frith does not perform on this album.
Pacifica was composed by Frith at Big Sur, California in a cabin overlooking the Pacific Ocean. It is "a slow meditation on life and death" and reflects a series of events that occurred in Frith's life at the time, namely the death of two close friends and the birth of his daughter.
Pacifica was composed for an ensemble that included prepared guitars, wind instruments, percussion, a vocalist and a performer on records, CDs and tapes. The 19 member Eva Kant ensemble (named after a 1960s comic strip heroine, Eva Kant) performed the piece, with fragments of recited text from the Death Song of the Cupeño tribe of California and the tribal names of all the original inhabitants of California.
Musique Concrete for Lovers hosted by Dr. Zomb
Barely scratched the surface with this show... would've liked to fit in some Dockstader, Varese, Stockhausen to name a few... next time...
pierre schaeffer etude aux chemin de fer 1948
walter ruttman wochende 1930
pierre schaeffer/pierre henry symphonie pour une homme seul 1950
john cage williams mix 1952
luc ferrari head and tail of the dragon
iannis xenakis concret ph 1958
andre boucourechliev texte 2 1959
francois bernard mache prelude 1959
frank zappa/mothers chrome plated megaphone of destiny 1967
daphne oram/high school student adwick high school no. 2 1968
luc ferrari part 2 music promenade 1969
henry jacobs inbetween A
bernard parmiegiani aquatisme sign of life 1982
negativland excerpt big 10-8 place pt. 1 1983
ethan rose on wheels rotating oaks cd 2009?
Butch Morris: Conduction #70 "Tit for Tat" (time=48:10) label: FOR 4 EARS records
Recorded live 9/26/96 in Zurich, Zwitzerland
personnel: B. Buster - turntables; Pete Ehrnrooth - clarinets, saxophones; Andy Guhl - cracked everyday-electronics; Hans Koch - clarinets, saxophones; Edgar Laubscher - electric viola; Norbert Moslang - clarinets, saxophones;Daniel Mouthon - voice; Gunther Muller - drums, electronics; Jim O'Rourke - acoustic guitar; Dorothea Schurch - voice; Martin Schutz - electric 5-string bass; Marie Schwab - acoustic violin; Nicolas Sordet - electronics; Fredy Studer - drums; Stephan Wittwer - electric guitar; Lawrence D. "Butch" Morris - conductor
Butch Morris: Conductions #57, 58 "Holy Sea, part 1" (time=68:44) label: Splasc(H) records
57E1, 57, 57E2 recorded live 2/8/96 in Firenze, Italy; 58E1, 58E2, 58E3 recorded live 2/9/96 in Carrara, Italy
personnel: Lawrence D. "Butch" Morris - conductor; J.A. Deane - live sampling, drum machine, trombone & electronics; Otomo Yoshihide - Riccardo Fassi - turntables, sampling, electronics; ORT [Orchesta della Toscana] Andrea Tacchi, Giogio Ballini, Paolo Gaiani, Maria Elena Runza (violin); Riccardo Massi, Alessandro Franconi, Dimitri Mattu (viola); Giovanni Bacchelli, Filipo Burchietti (cello); Raffaello Majoni, Gianpietro Zampella (contrabass); Michele Marasco (flute); Umberto Codeca (bassoon); Gianfranco Dini (horn); Donato De Sena , Claudio Quintavalla (trumpet); Renzo Brocculi (trombone); Riccardo Tarlini (tuba); Morgan M. Torelli (timpani); Jonathan Faralli (percussion); Cinzia Conte (harp)
|Natural Snow Buildings||Broken Sword||Slayer of the King of Hell|
|Natural Snow Buildings||Case Ressurected||Menagerie 2||Blackest Rainbow|
|Natural Snow Buildings||Nuclear Winter||Ghost Folks||Hinah|
|Isengrind||His Winter Bed||The Snowbringer Cult||Students of Decay|
|Natural Snow Buildings||The Snowbringer Cult||The Snowbringer Cult||Students of Decay|
|TwinSisterMoon||Bones Memories||The Snowbringer Cult||Students of Decay|
|Natural Snow Buildings||The Chrystal Bird||The Shadow Kingdom||Blackest Rainbow|
|Natural Snow Buildings||Moscow Signal||The Centaur Agent||Vopiano|
|Natural Snow Buildings||Dawn Celebration||The Sundowner||Students of Decay|
|TwinSisterMoon||Then Fell the Ashes||Then Fell the Ashes||Blackest Rainbow|
|Isengrind||When the Morning Dawns||Modlitewnik||Blackest Rainbow|
|Isengrind||Path of Ice||Golestan||s/r|
|Isengrind||Und Immer Noch gibt es Freude||Modlitwnik||Blackest Rainbow|
|TwinSisterMoon||Unseen Seen||The Hollow Mountain||Blackest Rainbow|
|Natural Snow Buildings||John Carpenter||The Dance of the Moon and the Sun||Students of Decay|
Tonight we listened to the exquisite drones and icy folk of the French duo Natural Snow Buildings, as well as to their solo projects, TwinSisterMoon and Isengrind.
|Hilda Dianda||A-7||Musica Electroacustica||MCBA|
|Hilda Dianda||Dos Estudios en Oposicion||Musica Electroacustica||MCBA|
|Anar Band||Aquaman||Anar Band||Alvorada|
|Anar Band||Plasticman||Anar Band||Alvorada|
|Anar Band||Batman||Anar Band||Alvorada|
|Anar Band||Superman||Anar Band||Alvorada|
|Amadeu Marin||Set Peces Lepidiformes, (1980)||Encontre de Compositors I||Institut d'Estudis Balearics|
|Nelly Moretto||Composicion 9b||Musica Elecroacustica||MCBA|
|Llorenc Barber||Obice - Sonata para Agua y Flauta||Encontre de Compositors I||Institut d'Estudis Balearics|
|Luis Maria Serra||Invocation||Musica Electroacustica||MCBA|
|Anar Band||Fantasma||Anar Band||Alvorada|
|Anar Band||Sandokan||Anar Band||Alvorada|
|Anar Band||Mandrake||Anar Band||Alvorada|
|Anar Band||Tarzan||Anar Band||Alvorada|
|Alfredo del Monaco||Electronic Study No. 2||Electronic Misic||CRI|
|Alfredo del Monaco||Metagrama||Electronic Misic||CRI|
Dynamic 1970 lp, originally co-released by the “Municipalidad de la Ciudad de Buenos Aires”, the “Secretaria de Cultura” and the “ls 1 Radio Municipal de la Ciudad de Buenos Aires” in a tiny internally-distributed edition, consisting of four extended pieces by Argentinian composers Hilda Dianda, Nelly Moretto, and Luis María Serra from the tail-end of the 1950s through the end of the 1960s.
Hilda Dianda’s opening piece “a-7” - ...a lone cello plucks out an atonal array of notes with the eruption of tape-sound. On her “Dos Estudios en Oposición” the tape-sounds are left to themselves.
On the “flip”, Nelly Moretto introduces her “Composición 9b”, a creepy blend of spoken word/sound-poetry with filtered noise and extensive tape processing, occasionally piling up into a giant jumble of disembodied voices; a spectral choir.
Finally, Luis María Serra’s “Invocation” works a few dissonant plucked guitar notes & string-scrapes into a powerfull morass of shifting pings and grinding metal; a notable guitar/electronic forebear.
Anar Band (Portugal) was a project by Jorge Lima Barreto (1949), who had been performing interventions in experimental and jazz music, video art and performance-art since the late sixties; graduated in Art History and doctorate in and Social Communication Theory, he wrote several books and produced radio shows.
Anar Band was a laboratorial group for improvisations, in the aesthetics of the free-jazz and electroacoustics.
Produced and recorded in 1976, Anar Band was, on an electroacoustic profile, the first Portuguese record of improvised music, clearly committed as such.Formed by Jorge Lima Barreto (who would be from 1981 onwards one of the halves of Telectu, the other being Vítor Rua) and (later the lead singer with avant-garde pop group GNR), this is a true trip into the inner realms of the mind, fuelled by jazz rock leanings and electronics – the ARP Odyssey synthesizer also reminds us that from here to prog rock is sometimes a small step.
This is a truly original work of art.
|Amadeu Marin||: Set Peces Lepidiformes, (1980)|
Llorenc Barber: Suite for flute and water, .
Alfredo del Monaco ( ) Electronic Study, 1970.
AUDIO for this broadcast can be found at: http://laruletaradio.files.wordpress.com/2011/01/01-a-different-nature.m4a
Lawrence D. "Butch" Morris & Conduction, part 2 of 6
Sketches of NYC (7:29) / from Nublu Orchestra conducted by Butch Morris (Nublu, 2006)
Conduction #25, The Akbank Conduction (45:00), Conduction #26, Akbank II (7:04) / from the 10-CD box set Testament: A Conduction Collection (New World, 1995)
"Conduction #135, Sheng Skyscraper (53:34) / from "Conduction / Induction" (Rai Trade, 2007)
for a complete listing of personnel, go to the Butch Morris website: www.conduction.us
and download Conduction Chronology.
to learn more about the documentary Black February: http://blackfeb.com/
host: Andy Hosch /// This evening we bring you the second in a six part series on the music of composer and conductor Lawrence D. “Butch” Morris, recognized internationally as the principal theorist and practitioner in the evolution of Conduction, and a leading innovator in the confluence of jazz, new music, improvisation and contemporary classical music. Butch’s work redefines the role of composer, conductor, arranger and performer and bridges the gap between the composer, interpreter and improviser. Over the last 25 years Morris has led over 180 Conductions in cities around the world. In this second installment, we will hear conductions which feature traditional instruments from Turkey and China, along with Western instruments and electronics
This series will continue on the 1st Monday of each month (with the possible exception of April, when it may be preempted by special Membership Drive programming). Also, I am arranging to do an interview with Butch Morris which we hope to air later in the series. So tune in and get ready to check out some truly amazing sounds. Visit Butch Morris's website at http://www.conduction.us/ and also go to http://blackfeb.com to learn about the recently released documentary film, "Black February" which follows a month long series of Conduction performances in New York during February, 2005 celebrating the 20th anniversary since of of Morris' first Conduction.
The following is an excerpt taken from the book Arcana II (John Zorn, et al.) as reprinted in the liner notes to the double CD "conduction/induction" (Rai Trade, 2007). I think it is very informative to hear, in Butch Morris' own words, his description of the principles of Conduction and of his overall artistic philosophy:
“For more than 20 years through Conduction, I have had the privilege to engage and enjoy, from the inside, this intermediate space between notation and improvisation, acquiring new skills and perspectives while doing so.
The context, of course, has been polarized by history and practice: musicians and musical communities bound by notation and musicians and musical communities bound by improvisation. Yet between them is the space where a potential for new life, an expansive range of expression that has gone untouched, prevails; and where ideals and ideas incubate for the continuum of the ‘musical’ canon.
Conduction®: a vocabulary of ideographic signs and gestures activated to modify or construct a real-time musical arrangement (of any notation) or composition. Each sign and gesture transmits generative information for interpretation and provides instantaneous possibilities for altering or initiating harmony, melody, rhythm, articulation, phrasing or form.
Conduction concerns transmission, communication and expression; a common ground where all culture and style cohabit, not only by way of their distinctiveness, but also in how each contributes, in the ensemble, to a unique encounter. More intimately, it concerns a capacity of musicianship for new skills with new principles.
The vocabulary of Conduction is symbolic information (directives: signs and gestures) that carry definition and meaning to propel musicians toward substantive understanding and achievement. It provides the precision and the focus needed to navigate music’s vast terrain.
The principles of Conduction foster, enhance and evoke the analytical reasoning of each musician’s history, knowledge, intelligence, experience, instinct, intuition, expression, will and fantasy as fundamental requirement.
In Conduction, the art of composition and the immediacy of performance become interdependent -- while the language of music cultivates and integrates all vernaculars and traditions open to, and in, the ensemble.
Results are ever present: enhanced musicianship; discovery of structure and substance in the arc of the performance; the evolution of a social logic based on new reciprocities between human and music, and between composer and conductor, conductor as composer, instrumentalist and conductor, instrumentalist and composer -- and audience, attaining new levels of momentary logic and new clarities about the character of the work itself.
Now, this bridge that Conduction builds between notation and improvisation fuels interest. For with it, I can identify, embrace and exploit the weaknesses and strengths of both together and depict, in the process, core limitations in either. Conduction also requires its realization in physical, rather than theoretical, form to facilitate (new) kinds of augmentation. The logic of circumstance(s) dictates the maximizing of encounter, and the musical and social structures that grow from such encounter.
Conduction is vivacious in that it draws on the full expanse of musical design while asking of its musicians that they refine their capacities beyond style and cultural aesthetic or social difference.
There are as many rewards as questions here but none, it seems, as significant as that which opens pathways, both individually and collectively; pathways shuttered previously by custom or fear. And I refer to the exclusionary focus of most musical traditions and to the fear of compromising identity.
Conduction, however, is not in contestation with given forms as much as it seeks to supplement them with a greater appreciation of possibility -- a capacity for dialogue uniquely spurred by the moments and movements that appear and vanish.
At the same time, by stripping away predispositions to value this or that in music, we also construct a mirror to the kinds of relationships that subsist in society, and the wherewithal of music to challenge and transform them; a community in microcosm that functions via this dynamic.
Conduction is neither method nor process, but practicum that reveals only in practice and through all its metaphorical concepts.
A sonic arena utilizing every tool in its arsenal to construct, deconstruct and reconstruct with and from the basic properties of pitch, duration, intensity and timbre. Primed by an ‘Extra Dimension,’ which motivates us to engage and respond within, as beyond, all territory, Conduction invokes a continuum that thrives in a real-time transmission of relationships and meaning; the spontaneity and precision that we need to ignite and combust order and organization within sonic thought.
From the conductor’s perspective, Conduction is the art of “environing,” the organization of surrounding things, conditions or influences. It is a technique to capture and discover sonic information, structure and sub-structure, meaning, implication and expression (as we construct together) -- all primary values in our pursuit of coherence and poignancy, and the immediacy of place.
From the perspective of the instrumentalist, the musician learns that Conduction is ensemble skill, and that Conduction’s criteria drive attentiveness, discrimination, understanding, perception and execution. Each sign in the Conduction Vocabulary has definition, yet within that definition each musician is obliged to qualitatively define its ‘content’. The descriptive (vocabulary) thus generates prospect; and by virtue of the definition attached to each sign, each interpretation evolves by progressive self-development through historical and momentary orientation.
To contribute to Conduction, the musician reveals explicit content within the evolving work. As such, musical flexibility and potential expand as we explore a new condition of liberty to foster individual and collective freedoms in real time.
A state of risk, certainly; a distillation of immediacy, no doubt; the incarnation of a step in the evolution of music that each musician embodies – this is a goal.
Conduction is an art that flowers in contradiction (for some), ambiguity (for others) and encounter (for all involved). By constructing, deconstructing and contrasting composition at will, we forge an intermediate space, both intensive and extensive, for the evolution of ensemble music, and for a new virtuoso thus versed.
In this way, Conduction opens a range of possibility previously unknown, just barely known or in what we know all too well. After all, Conduction is a way to explore music as we make it -- a probe to mine music and the ensemble at its most basic levels.
All in all, what we have here is the evolution of a model of empirical form; a way to contribute to the musical continuum as possibility and a (new) musical responsibility where the collective determines the experience of symbolic sonic stimuli; where all forms of notation, improvisation, style and thought combine to establish a unique constellation of momentary logic (improvisation); where consciences can mature in a perfectly working precision that can never reach what is traditionally known as perfection.”
--LAWRENCE D. “BUTCH” MORRIS
|Dick Raaijmakers||piano forte '59-60||Institute of Sonology 1959-1969|
|C Marclay||Maria Callas|
|John Cage||Williams Mix||1952|
|Hu Mage||firewood, rice, oil, salt, soy||China Sonic Avant Garde 2002|
|Scott Johnson||John Somebody|
|Mike Patton||Pajama Party Horror|
|A Leper with the Face of a Baby Girl|
|Adult Themes for Voice|
|John Zorn feat. C. Marclay 1985||Godard ca vous chante?|
|Tom Broynel||reflexen||Institute of Sonology|
|Portsmouth Simfonia Orchestra||Also Sprach Zarathustra||Plays the Popular Classics|
|Ata Ekhtebar & the Iranian Orchestra for New Music||Pearly Gates|
|Little Tales 4point5|
|Richard Lerman||Travelon Gamelon Promenade version 1979||Folkways LP|
hosted along with Daniel Flessas (also of the Outside World) as two birds joining in tune...